Alfred Crowquill most probably contributed all the pictures to "Robinson Crusoe," "Blue Beard," and "Red Riding Hood" told in rhyme by F. W. N. Bayley, which have been noticed among his books of the "forties." One of the full pages, which appear to be lithographs, is clearly signed. He also illustrated the adventures of "Master Tyll Owlglass," an edition of "Baron Munchausen," "Picture Fables," "The Careless Chicken," "Funny Leaves for the Younger Branches," "Laugh and Grow Thin," and a host of other volumes. Yet the pictures in these, amusing as they are in their way, do not seem likely to attract an audience again at any future time.
E. V. B., initials which stand for the Hon. Mrs. Boyle, are found on many volumes of the past twenty-five years which have enjoyed a special reputation. Certainly her drawings, if at times showing much of the amateur, have also a curious "quality," which accounts for the very high praise they have won from critics of some standing. "The Story without an End," "Child's Play" (1858), "The New Child's Play," "The Magic Valley," "Andersen Fairy Tales" (Low, 1882), "Beauty and the Beast" (a quarto with colour-prints by Leighton Bros.), are the most important. Looking at them dispassionately now, there is yet a trace of some of the charm that provoked applause a little more than they deserve.
In British art this curious fascination exerted by the amateur is always confronting us. The work of E. V. B. has great qualities, yet any pupil of a board school would draw better. Nevertheless it pleases more than academic technique of high merit that lacks just that one quality which, for want of a better word, we call "culture." In the designs by Louisa, Marchioness of Waterford, one encounters genius with absolutely faltering technique; and many who know how rare is the slightest touch of genius, forgive the equally important mastery of material which must accompany it to produce work of lasting value.
ILLUSTRATION FROM "THE SLEEPING BEAUTY." BY R. ANNING BELL (DENT AND CO.)
Mr. H. S. Marks designed two nursery books for Messrs. Routledge, and contributed to many others, including J. W. Elliott's "National Nursery Rhymes" (Novello), whence our illustration has been taken. Two series of picture books containing mediæval figures with gold background, by J. Moyr Smith, if somewhat lacking in the qualities which appeal to children, may have played a good part in educating them to admire conventional flat treatment, with a decorative purpose that was unusual in the "seventies," when most of them appeared.
In later years, Miss Alice Havers in "The White Swans," and "Cape Town Dicky" (Hildesheimer), and many lady artists of less conspicuous ability, have done a quantity of graceful and elaborate pictures of children rather than for children. The art of this later period shows better drawing, better colour, better composition than had been the popular average before; but it generally lacks humour, and a certain vivacity of expression which children appreciate.
ILLUSTRATION FROM "FAIRY GIFTS." BY H. GRANVILLE FELL (DENT AND CO.)
In the "sixties" and "seventies" were many illustrators of children's books who left no great mark except on the memories of those who were young enough at the time to enjoy their work thoroughly, if not very critically. Among these may be placed William Brunton, who illustrated several of the Right Hon. G. Knatchbull-Hugessen's fairy stories, "Tales at Tea Time" for instance, and was frequent among the illustrators of Hood's Annuals. Charles H. Ross (at one time editor of Judy) and creator of "Ally Sloper," the British Punchinello, produced at least one memorable book for children. "Queens and Kings and other Things," a folio volume printed in gold and colour, with nonsense rhymes and pictures, almost as funny as those of Edward Lear himself. "The Boy Crusoe," and many other books of somewhat ephemeral character are his, and Routledge's "Every Boy's Magazine" contains many of his designs. Just as these pages are being corrected the news of his death is announced.